'That's All For Everyone' is perhaps 's most haunting song on Fleetwood Mac's album. It tells a story of a man who is struggling. With his role in the band, and about his future in general.
It is apparent that he wants and needs to branch out, both personally and professionally. He is feeling suffocated in a sense.
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Which brings about these feelings of wanting to leave Fleetwood Mac. Like many of 's songs, the music, perhaps even more so than the lyrics, convey his desperation and indecision. That's all for everyone That's all for me Last call for everyone Must be just exactly what I need His time with Fleetwood Mac is coming to an end. He needs to leave and do his own thing, so to speak.
However, you can hear the indecision in there. 'MUST be just exactly what I need'. Like he isn't sure, but he THINKS so. His inner-struggle is very apparent. I call for everyone I cry for more That's all for everyone Must be just exactly what I need That's all In this verse, he conveys his frustration with the fact that the rest of the band questioned his direction with and gave him a hard time about it.
It was too 'to the left' for its time. And seems to be asking here for the rest of the band to trust him. He wants and needs their approval. And he doesn't seem to be getting it, so he expresses at the end of this verse once again his need to leave the band and do his own thing. That way, he won't have anyone else to answer to. I need somewhere to go That's all Must be what I need That's all I need someone to know Last call Exactly what I need In this verse, seems to be trying to convince himself that leaving the band is the best decision. He's reassuring himself.
He needs to take all of his fresh, creative ideas somewhere else. A place where they will not be questioned, second-guessed. And also be appreciated. However, one also senses his struggle with the idea of letting the band down. Something he doesn't want to do. I can't stay I can't deceive That's all for everyone Must be just exactly what I need So that's all for everyone That's all for me Last call for everyone Must be just exactly what I need That's all Here, we see that can no longer pretend. He can no longer hide his feelings of wanting to leave the band.
Leaving is the best thing for him. Remember, he was not always comfortable with the compromising situation that a band creates.
He wanted more freedom to use and follow his own ideas. In order to do this, he must leave the band. I need somewhere to go That's all Must be what I need That's all I need someone to know Last call Exactly what I need That's all for everyone That's all, that's all, that's all, that's all His repetition of the lyrics here indicates that he is still trying to convince himself that leaving the band is the best thing for him. But once again, he is having difficulty making the decision. He may have been blowing off some steam with this song, but it is certainly an indication of his struggle with the final decision. Which thankfully, was to stay and tough it out with the band. It is interesting that 's vocals, as well as the music, have a very dreamy, floating feel to them.
He is making a very gentle statement here, as opposed to saying 'I'm outta here.goodbye forever!' Almost like he is playing out a fantasy in his mind.
The song also has a very lonely feel to it. Which could signify his feelings of isolation and separation from the rest of the band members. As we all know, ended up staying with Fleetwood Mac for 8 more years. But this song was his way of crying out for more. Almost a warning to his fellow bandmates. He was letting everyone know just how close he was to leaving the band.
In the subtle, wistful way only can execute so perfectly. Transcribed to HTML by Marty Adelson.
Copyright © 1995-2001, Martin and Lisa Adelson All Rights Reserved.
. ' Released: September 1979. ' Released: December 1979. ' Released: February 1980 (UK). ' Released: March 1980.
' Released: June 1980 (USA). ' Released: July 1980 (NL) Tusk is the 12th studio album by British-American rock band, released as a on October 12, 1979.
It is considered more experimental than their previous albums, partly a consequence of 's sparser songwriting arrangements and the influence of. The production costs were estimated to be over $1 million (equivalent to $3.38 million in 2017), making it the most expensive rock album recorded to that date. The band embarked on a 9-month tour to promote Tusk. They travelled extensively across the world, including the U.S., Australia, New Zealand, Japan, France, Belgium, Germany, the Netherlands, and the UK. In Germany, they shared the bill with. On this world tour, the band recorded music for the album, which was released in 1980.
Compared to 1977's, which sold 10 million copies by February 1978, Tusk was regarded as a commercial failure by the label, selling four million copies. It has since been recognized for its influence on various artists and genres. In 2013, ranked Tusk at number 445 in their list of.
The album was also included in the book. Contents. Background Going into Tusk, Lindsey Buckingham was adamant about creating an album that sounded nothing like Rumours: 'For me, being sort of the culprit behind that particular album, it was done in a way to undermine just sort of following the formula of doing Rumours 2 and Rumours 3, which is kind of the business model would have liked us to follow.' Decided early on that Tusk was to be a double album. After their label turned down Fleetwood's offer of buying a new studio to make the record, the band used some of their royalties to construct their own Studio D. After the studio was built, Buckingham asked Fleetwood if he could record a few songs at his home studio. Fleetwood acquiesced, but told Buckingham that the other members needed to be integrated at some point.
Fleetwood would his own drums over Buckingham's snare-drum track, which he sometimes played on a box. Despite this, three tracks were recorded solely by Buckingham: 'The Ledge', 'Save Me a Place', and 'That's Enough For Me'. Producer Ken Caillat commented on Buckingham's obsessive nature in the studio: 'He was a maniac. The first day, I set the studio up as usual. Then he said, 'Turn every knob 180 degrees from where it is now and see what happens.' He'd tape microphones to the studio floor and get into a sort of push-up position to sing. Early on, he came in and he'd freaked out in the shower and cut off all his hair with nail scissors.
He was stressed.' I would have liked to have been a fly on the wall when Warner Bros. Put that on in their boardroom and listened to it for the first time. — Buckingham – infatuated with bands such as – was 'desperate to make Mac relevant to a world', according to music journalist, who commented that, compared to Rumours, Tusk was 'unleavened weirdness, as close to its predecessor as ' lo-fi had been to. Much of it sounded clattery, half-formed, with strange rhythmic leaps and offbeat tics.' Journalist Adam Webb described the Tusk recording sessions as a 'cocaine blizzard' that 's then-boyfriend, Beach Boy drummer, 'never really came out from.'
Music historian claimed that, for research purposes during the album's recording, Buckingham accessed the master tapes for the Beach Boys' unreleased album, and that the tracks 'That's All For Everyone' and 'Beautiful Child' most strongly exemplify its influence. Bassist commented that the album 'sounds like the work of three solo artists', whilst Fleetwood proclaimed it is his favourite and the best Fleetwood Mac studio album.
'You got that sweetness from Nicks and McVie and me as the complete nutcase,' Buckingham observed. 'That's what makes us Fleetwood Mac.' Release and reception Professional ratings Retrospective reviews Review scores Source Rating 9.2/10 Tusk peaked at number four on the album chart in the U.S., but spent less than 9 months on the chart. It was certified double platinum for shipping two million copies. It peaked at number one in the UK and achieved a platinum award for shipments in excess of 300,000 copies. The album gave the group two U.S. Top-10 hit singles, with the Buckingham-penned (US number eight/UK number six), and the composition ' (US number seven/UK number 37).
In his review for, Stephen Holden emphasized the experimental nature of the album, with comparisons to the Beatles': 'Like The White Album, Tusk is less a collection of finished songs than a mosaic of pop-rock fragments by individual performers.' Of was more ambivalent, lauding Buckingham's production and experimentation, while dismissing Christine McVie's and Stevie Nicks's contributions.
Retrospectively, 's found the album to be in its own ballparkcalling it 'a peerless piece of pop art'. Of found the album to be 'self indulgent' and 'terrifically strange'. Though the album sold four million copies worldwide, and earned a Grammy nomination in 1981 for its art designers in the category 'Best Album Package', and considering the comparatively huge sales of Rumours and the album's unprecedented recording expense, the band's record label deemed the project a failure, laying the blame squarely with Buckingham. Fleetwood, however, blames the album's relative failure on the radio chain playing the album in its entirety prior to release, thus allowing mass home recording. In addition, Tusk was a, with a high list price of $15.98, which was $2 more than other double albums. Further releases from the album, ' (UK-only single release), ', and ' were slightly remixed for radio, and were less successful. The latter two appear in their 'single versions' on the 2002 compilation, while 'Sara', which was cut to 4½ minutes for both the single and the first CD release of the album, appear on the 1988 Greatest Hits compilation and the 2004 reissue of Tusk, as well as Fleetwood Mac's 2002 release of The Very Best of Fleetwood Mac in its unedited form.
Track listing Side one No. Title Writer(s) Lead vocals Length 1. 'Over & Over' C. McVie 4:34 2. 'The Ledge' Buckingham 2:08 3. McVie and Buckingham 2:44 4. 'Save Me a Place' Buckingham Buckingham 2:42 5.
' (Edited to 4:39 on earlier CD pressings) Nicks 6:22 Side two No. Title Writer(s) Lead vocals Length 1. 'What Makes You Think You're the One' Buckingham Buckingham 3:32 2. 'Storms' Nicks Nicks 5:31 3. 'That's All for Everyone' Buckingham Buckingham 3:03 4. ' (Mix differs from original LP version) Buckingham Buckingham 3:11 5.
' Nicks Nicks 4:42 Side three No. Title Writer(s) Lead vocals Length 1. 'Angel' Nicks Nicks 4:54 2.
'That's Enough for Me' Buckingham Buckingham 1:50 3. McVie 4:27 4. 'Never Make Me Cry' C. McVie 2:18 5.
' (Mix differs from original LP version) Buckingham Buckingham 3:05 Side four No. Title Writer(s) Lead vocals Length 1. 'Honey Hi' C. McVie 2:41 2. 'Beautiful Child' Nicks Nicks 5:21 3. ' Buckingham Buckingham 3:46 4. ' Buckingham Buckingham 3:37 5.
'Never Forget' C. McVie 3:34 Expanded and alternate editions A 2-disc remastered version of the album was released in 2004, featuring the entire, unedited version of the original album on the first disc and various demos, outtakes and alternate versions on the second disc. 2004 deluxe edition No.
Title Writer(s) Length 1. 'One More Time (Over & Over)' McVie 4:42 2. 'Can't Walk Out of Here (The Ledge)' Buckingham 2:04 3. 'Think About Me' McVie 2:36 4. 'Sara' Nicks 8:48 5. 'Lindsey's Song #1 (I Know I'm Not Wrong)' Buckingham 3:06 6. 'Storms' Nicks 5:22 7.
'Lindsey's Song #2 (That's All for Everyone)' Buckingham 3:04 8. 'Sisters of the Moon' Nicks 5:10 9. 'Out on the Road (That's Enough for Me)' Buckingham 1:52 10. 'Brown Eyes' McVie 5:00 11. 'Never Make Me Cry' McVie 2:23 12. 'Song #1 (I Know I'm Not Wrong)' Buckingham 2:50 13.
'Honey Hi' McVie 3:48 14. 'Beautiful Child' Nicks 5:24 15. 'Song #3 (Walk a Thin Line)' Buckingham 3:16 16. 'Come on Baby (Never Forget)' McVie 3:40 17. 'Song #1 (I Know I'm Not Wrong)' (Alternate ) Buckingham 2:40 18.
'Kiss and Run' 2:05 19. 'Think About Me' McVie 2:43 21.
'Sisters of the Moon' (Single version) Nicks 4:40 A 5-CD deluxe edition featuring many unreleased demos, live tracks and an Alternate Tusk was released on December 4, 2015. Tusk remastered. An alternate version of the complete album consisting of session outtakes, most of which have never been released. A selection of singles, demos and remixes. Unreleased performances from the band’s 1979–1980 Tusk tour with selections from concerts in London, Tucson, St.
Louis, and one song in Omaha. A DVD with both a 24 bit/96 kHz stereo mix and a 5.1 surround mix of the original album Tusk was also issued as a 180-gram 2-LP set. Disc two: singles, outtakes, sessions No. Title Length 1. 'Think About Me ( )' 2:46 2. 'That's All for Everyone (Remix)' 2:52 3. 'Sisters of the Moon (Remix)' 4:42 4.
'Not That Funny (Single remix)' 3:15 5. 'Sara (Single edit)' 4:36 6.
'Walk a Thin Line (Song #3 – 3/13/79)' 3:15 7. 'Honey Hi (Alternate version – 10/18/78)' 3:48 8. 'Storms (Alternate version – 11/30/78)' 5:13 9.
'Save Me a Place (2nd version – 10/10/78).' 3:15 10. 'Never Make Me Cry (Version – 4/17/79)' 2:17 11. 'Out on the Road (aka 'That's Enough for Me' – 12/19/78).' 2:43 12. 'I Know I'm Not Wrong – Lindsey's Song #1 (Demo)' 3:07 13. 'I Know I'm Not Wrong (10/10/78 version).'
3:18 14. 'I Know I'm Not Wrong (11/3/78 version).' 3:05 15.
'I Know I'm Not Wrong (4/25/79 version).' 2:23 16.
'I Know I'm Not Wrong (8/13/79 version).' 3:00 17. 'I Know I'm Not Wrong (1/23/79 version).' 3:02 18.
![Fleetwood mac concerts on youtube Fleetwood mac concerts on youtube](/uploads/1/2/5/6/125618592/140095085.jpg)
'Tusk (Demo – 1/15/79).' 5:07 19. 'Tusk stage riff (Demo – 1/30/79).' 3:05 20. 'Tusk ( track – 2/1/79).' 4:15 21. 'Tusk (Outtake – 1/23/79).'
4:35 22. 'Tusk ( version – 6/4/79).'
3:52 Disc three: the alternate Tusk No. Title Length 1.
'Over & Over (4/2/79).' 4:40 2.
'The Ledge (3/13/79)' 2:07 3. 'Think About Me (2/18/79).' 2:45 4. 'Save Me a Place (10/18/78).' 3:04 5. 'Sara (3/10/79)' 8:48 6.
'What Makes You Think You're the One (2/24/79).' 3:29 7. 'Storms (6/2/79).' 5:32 8. 'That's All for Everyone (10/20/78).'
3:45 9. 'Not That Funny (5/19/79).' 3:25 10. 'Sisters of the Moon (11/12/78)' 5:14 11. 'Angel (4/2/79).'
4:56 12. 'That's Enough for Me (9/29/78).'
1:52 13. 'Brown Eyes (with Lindsey and Peter Green, 9/20/78).' 5:08 14. 'Never Make Me Cry (2/8/79).' 2:14 15. 'I Know I'm Not Wrong (11/2/78).' 3:04 16.
'Honey Hi (10/11/78).' 3:09 17.
'Beautiful Child (10/9/78).' 5:40 18. 'Walk a Thin Line (4/6/79).' 3:22 19. 'Tusk (7/19/79).'
3:36 20. 'Never Forget (6/29/78).' 3:46 Disc four: Tusk tour live I No. Title Length 1.
'Intro (, 6/26/80)' 2. ' (Wembley, 6/26/80)' 3. ' (Wembley, 6/20/80)' 4. ' (Wembley, 6/27/80)' 5.
' (Wembley, 6/20/80)' 6. ' (Wembley, 6/20/80)' 7. ' (, 8/28/80)' 8.
'Over & Over (, 11/5/79)' 9. 'That's Enough for Me (Wembley, 6/21/80)' 10. 'Sara (Tucson, 8/28/80)' 11. 'Not That Funny (St. Louis, 11/5/79)' 12. Louis, 11/5/79)' Disc five: Tusk Tour live II No. Title Length 1.
'Save Me a Place (St. Louis, 11/5/79)' 2. ' (Omaha, 8/21/80)' 3. 'What Makes You Think You're the One (St.
Louis, 11/5/79)' 4. Louis, 11/5/79)' 5. ' (Wembley, 6/20/80)' 6. Louis, 11/5/79)' 7. ' (Wembley, 6/22/80)' 8.
' (Wembley, 6/22/80)' 9. 'Sisters of the Moon (Wembley, 6/22/80)' 10. ' (Wembley, 6/27/80)' Another alternate version of Tusk was released on Record Store Day 2016.
In addition to the above outtakes, several other Nicks songs were demoed for Tusk: 'Love You Enough' (unreleased), ' ( ), ' ( ), ' ( ), ' and 'Watch Chain' ( ). Note. = Previously unreleased; all live tracks are previously unreleased. Personnel Fleetwood Mac. –,.
– vocals; (on 'Sara'). – vocals, keyboards. – bass guitar. – drums, percussion Additional musicians. – guitar (on 'Brown Eyes'). – and percussion (on 'Tusk') Production and design.
Fleetwood Mac – producers. – producer, engineer. – producer, engineer, remastering. Rich Feldman – assistant engineer. Hernan Rojas – assistant engineer. Ken Perry – mastering. Peter Beard – photography.
Jayme Odgers – photography. – photography. Vigon Nahas Vigon – art direction, design Charts.